In questo volume:

Delfín Rodríguez Ruiz, Modelli ‘periferici’ nell’architettura di Andrés de Vandelvira: da Francesco Colonna a Jacques Androuet Du Cerceau

Abstract: This paper reflects about the effects of the Italian humanistic culture on Spanish architects, aiming to explore the dialectic relationship established with the rediscovered classical models, especially by Andrés de Vandelvira (1509-c.1575). More specifically, the analysis faces the role of one of the most famous Renaissance books, the Hypnerotomachia Poliphili, published by Francesco Colonna (1499). It seems that Vandelvira was remarkably sensitive to this text, the study of which affected some of his projects along with Vitruvius and Sebastiano Serlio. This paper rebuilds the historic context in which some of Vandelvira’s works materialized – such as the southern gate of the chapel of the Savior and Ortega’s family chapel in the church of San Nicolás de Bari, both in Ubeda, and the well-known commissions in Baeza and Jaén. Thereby, the paper tries to develop research horizons, also considering the intellectuals who could have provided him with the book as well as a deep knowledge of its contents.

Daniel Tischler, Borromini’s Numerical Annotations and their Function in his Drawing Practice

Abstract: This article examines a previously overlooked detail in two of Francesco Borromini’s drawings: Both the famous split-plan of Sant’Ivo alla Sapienza and a sheet for the tiburio of Sant’Andrea delle Fratte feature numerical annotations that reveal the graphic construction of geometrically complex parts. By implying a precise repetition of the construction, they indicate the intention to reproduce these drawings, most likely to be used as illustrations in Borromini’s failed publication projects. The intended recipient may have been either Borromini’s engraver, Dominique Barrière, to guide him in the execution of an engraving, or his assistant, Francesco Righi, for a further elaborated drawing within the same preparatory process. Beyond the functional (re-)evaluation of the two individual sheets, these findings offer thus a case study of the preparation and collaboration practices within the production of architectural books in seventeenth-century Rome.

Silvia De Matteis, La piazzetta del Nuovo e il monastero dei Santi Maria e Andrea a Chieri

Abstract: In Chieri, not far from Turin, a semi-circular square lies opposite a vast space with no constructions; both in contrast with the dense medieval fabric of the immediate surroundings. Till 1811 the lot was occupied by a massive monastic complex, dedicated to the Saints Mary and Andrew, of the Cloistered Cistercian Nuns. It was a wealthy and ancient local institution, resulting from the fusion of three 13th-century predecessors. In 1728, the Royal Architect Filippo Juvarra was commissioned to rebuild the church, which was consecrated in 1733. This paper aims to analyze the relationship between the square and the church within the frame of the construction process and the functions which were housed, as well as the formal ties to two coeval squares from the Roman area: the Esedra della Pace in Albano, and the Piazza di Sant’Ignazio in Rome, both by the architect Filippo Raguzzini.

Barbara Tetti, Progetti e interventi di Luigi Vanvitelli per la chiesa di San Pantaleo a Roma

Abstract: Starting from the reorganization and re-examination of 18th-century documents, this essay reconstructs the events related to the evolution of the main chapel of San Pantaleo Church, whose current configuration is result of subsequent interrupted projects. The study allowed to outline the sequence of the operations, individuating the phases elaboration, realization, and modification, to attribute the projects to Nicola Salvi and Luigi Vanvitelli, and to clarify the roles of Carlo Murena and Virginio Bracci. Moreover, it permitted to attribute to Vanvitelli some drawings also for the chapel of Sant’Anna, enriching the framework of the interventions conducted by the architect within buildings where the overall architectural layout was already defined. For the church of the Piarists, in 1760s, Vanvitelli goes beyond the already advanced idea of a structure juxtaposed with the existing ones and proposes a new definition for the entire space of the main chapel, where the altar is understood as an integral element of the articulation. This operation recalls the activity that he carried out in Naples and in some chapels in Rome, built before moving to Caserta. It also confirms how Vanvitelli tended to converse with existing elements, each time in a specific manner, and to experiment with solutions which respond to different needs of completion, adaptation, renovation, or restoration.

Gian Paolo Consoli, Marta Lembo, La lunga storia di una basilica: il tempio al Cuore Immacolato di Maria di Armando Brasini e i progetti per le sue cupole 1919-1954

Abstract: In the history of 20th-century ecclesiastical architecture, rich in events of great interest and often in research expressions to blend the tradition and modernity, a special place is occupied by the great church designed by Brasini. Firstly, thanks to its dimensions, being the fifth biggest basilica in Rome. Slightly smaller than Santa Maria Maggiore, the building is 81 meters long and 57 meters wide. Secondly, because throughout the long design process, which we will try to reconstruct although not in all its numerous phases, the Roman architect did nothing but reconsider, develop and blend examples from the great Renaissance and Baroque tradition, far from modernist ambitions.

Maria Giovanna Putzu, Analisi e interpretazione di tracce, simboli e stilemi per la comprensione del cantiere medievale. Un’esemplificazione in Sardegna

Abstract: This study deals with the construction sites and building techniques in Sardinia especially between the 10th and 15th centuries, aiming to contribute to the historical and critical knowledge about the related medieval practices. The study on the construction processes was conducted by analyzing how the site could have been organized, which can be deduced by the presence or absence of scaffolding holes, as well as their nature and disposition. To understand the structure of medieval construction sites it is necessary to examine the characteristics of the masonry both in relation to the presence of the scaffolding holes and to the presumable mounting system of the various wooden elements shaping the scaffoldings. More specifically, one of the main distinctive factors identified for the study of the masonries is the typology of the bridge holes. This was compared to and considered along with other parameters which are useful for identifying the wall types within the technical, typological, and stylistic frame of the entire building. This insight proved fundamental to date and classify the surfaces and sections of the masonry elements.